This has been a fascinating discussion. Observations: Many of my students sing in choruses or choirs. It is shocking how little vocal instruction they recieve. Granted, teaching vocal technique to large groups is a challenge, but I am stunned at how many choir directors and conductors don't understand the basics of the way voices work. Otherwise, how could so many of them think that eliminating vibrato will solve their choir's intonation problems? Or to sing melismas with a "ha" so the note will be (they think) clean and together. I understand the problems, but if they had taken a basic pedagogy class, how could they think that the above techniques would solve the above problems? It puzzles me.
On the differences between pop and classical singing - Randy, I think I understand what you are saying about the differences. It jives with my experience of the two. Specifically, that the mixes and the shape (or vowels) are a little different, but not vocally harmful. Luckily, I have good voice teacher who understands the importance of chest and head mix in classical singing. My question: Who (other than Dawn Upshaw) does both styles well? Would training in different styles interfere with excelling in one? And I wonder if those who play instruments like trumpet or violin have these difficulties in switching styles. Is Wynton Marsalis an admirable classical player, or does he always retain that jazz flavor? Can Itzsak Perlman's virtuosity interfere with his ability to play klezmer fiddle tunes? Are there any programs of vocal study that emphasize learning to sing all styles?
You've started me thinking . . . this is good.
Jean Marie Henderson
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